Project Enthusiasm Quotes

I do have aspirations when it comes to directing, I suppose, but in a sort of a vague way. It would probably come about if I found a project that I really felt passionate about.

I think it's very rare, as an actor, that you get to a script, or an idea of a script, and you go, "Oh, I just have to do that!" It fell into place very quickly.

I always try to pick projects by: Is this something that excites me? What are the people like to work with? Obviously you spend a lot of time in a room together with them, so I always try to find projects that hopefully have great people attached.

I don't need to work right away. I'd rather wait for something really good; to be excited about a role, or a director, or a project.

When I initially met with Robert I was just so excited to meet the guy. I was able to go to Troublemaker Studios in Austin, Texas and just hanging out was fantastic. Working on this took up all of my weekends while I was shooting Community. It was crazy, but again, no regrets.

I love the idea of getting to play different characters and tell some stories. When you're passionate about a project, it's nice to get the part.

If I get an idea for a series that I really like, I'm sure I won't be able to resist coming back and doing it.

I really wanted to work with Luc Besson. I'm a big fan of his. Did you ever see 'The Professional.' It was very violent. But a fabulous story, a fabulous movie, very well done. So that and two or three other projects of his that I've seen, I just thought if I had a shot to work with him I wanted to do it.

I am mostly concerned about the script. If I get something that excites me, I will do it.

Any film I do needs to excite me at a script level.

I have to be absolutely drawn to the project. If you're ashamed or bored by it at the beginning, it's going to be a pretty nightmarish thing.

I read Animal House and I said, "I will burn down a house to be in this. I have to be in this movie." I read 1941 and I went, "Well, if Steven Spielberg likes it..." But it just wasn't on the page. It was a very big, unwieldy thing, and there were so many characters. It was fun to shoot, but I didn't know what the core of it was.

I always need a couple of highlights to really spark the passion for a project.

I enjoy working with Melissa a great deal. We're always looking for projects to do together. I was happy to have her do the show, because she doesn't normally do episodic unless she's starring, and I was very happy with the results.

We work in an environment where your options are to do, you know, Batman 10, so when you get to do a movie that's a really great film like this, people really step up to the plate and enjoy it.

Before I find myself in the middle of a project, I want to make sure it is the kind of thing that keeps me excited for two years. Otherwise, it will be very difficult to push the proverbial rock up the proverbial mountain.

I'm always confident when I sign up for a project that it's going to be good. That's why I sign up for it.

I'm selfish when it comes to work. I'm like, "Oh, that will be fun! I wanna do that!" I never think beyond my participation in a project.

Jordan Vogt-Roberts directed me in 'Kings of Summer,' which was his debut feature. I got to witness the passion and hunger that first-time directors bring to projects, and ever since, then I've been very intrigued when I've come across a project with a less experienced director.

I love making films, and as long as I love the subject, I just have a crazy amount of passion and energy for the project.

When I start something, I know people I am working with, it's a project they're interested in.

Mahakumbh' has a very unique concept and I was certain to take it up when I heard the script for the first time.

I love any project where I get to push myself and learn new things.

I wanted to work with Barry [ Jenkins]. I am a big fan of his from Medicine for Melancholy years ago. Tarrell [Alvin McCraney] is my favorite playwright. I will do anything he asks. The characters were so clearly drawn and three dimensional. It was an easy thing to say yes to.

I read the script for 'Somnia' when I was filming 'Oculus,' and I remember calling my manager going, 'I really need to do this movie,' and he's like, 'How about you finish this one first and then you see it?' I was like, 'I don't need to. I don't need to. You need to read this. I need to do this movie. The script is very good.'